1903 to 1975
http://www.metmuseum.org The following piece is taken from the metmuseum website.
Most of Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. But he gradually moved away from this highly aestheticized style to develop his own evocative but more reticent notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects. The Depression years of 1935–36 were ones of remarkable productivity and accomplishment for Evans. In June 1935, he accepted a job from the U.S. Department of the Interior to photograph a government-built resettlement community of unemployed coal miners in West Virginia. He quickly parlayed this temporary employment into a full-time position as an “information specialist” in the Resettlement (later Farm Security) Administration, a New Deal agency in the Department of Agriculture.
Under the direction of Roy Stryker, the RA/FSA photographers (Dorothea Lange, Arthur Rothstein, and Russell Lee, among others) were assigned to document small-town life and to demonstrate how the federal government was attempting to improve the lot of rural communities during the Depression. Evans, however, worked with little concern for the ideological agenda or the suggested itineraries and instead answered a personal need to distill the essence of American life from the simple and the ordinary. His photographs of roadside architecture, rural churches (1999.237.3), small-town barbers (1999.237.1), and cemeteries reveal a deep respect for the neglected traditions of the common man and secured his reputation as America’s preeminent documentarian. From their first appearance in magazines and books in the late 1930s, these direct, iconic images entered the public’s collective consciousness and are now deeply embedded in the nation’s shared visual history of the Depression (1987.1100.482).